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hrjThat is, not set in the 1980s, but written then. I often hear people tossing around the concept that the explosion of lesbian genre fiction is something brand new in the context of e-books and easy access to publication. But these are the books that first hooked me on the idea that one could write strong and literate historic fiction centered around lesbian characters who earn their happy relationships. These four books share a number of features: the writing is strong and excellent and captures the flavor and language of the historic setting; the characters and their predicaments are true to their setting--whether to the actual historic setting or to the literary genre (in the case of the Regencies); and although the plots revolve around a romantic plot arc and include a few tasteful erotic scenes, they are richly detailed with sub-plots, secondary characters, and careful worldbuilding.
I wrote these up because Sheena of The Lesbian Review asked for a birthday gift that people would post three reviews on Amazon of lesbian books they have loved. Since I tend to stay caught up on reviews of my recent reading (though my usual Friday review slot will fall in this category as well), I thought I'd pull out some "classics" that I haven't reviewed before -- or at least, not since the rise of the internet!
Alas, none of these books are currently in print, although used copies can be found. It would be wonderful if someone would see about getting these into e-book format. They set such a great example of what lesbian genre fiction can be at its best.
* * *
A Mistress Moderately Fair - by Katherine Sturtevant (Alyson Publications, 1988)
In contrast to the previous century, women in mid-17th century Restoration England could not only act upon the stage, but even become playwrights. Margaret Featherstone (possibly inspired by the real playwright Aphra Behn) competes for the talents of London’s theatrical set, and for the attention of patrons even as high as King Charles II. Actress Amy Dudley could be the talent that brings fame to her work. But both women share a secret and forbidden desire, and Amy hides another secret that could send her to the gallows. Braided in among this are other stories, such as that of the African slave Kicharuzi.
Sturtevant has a strong command of the feel for historic English and brings the era to life both in her descriptions and dialogue. This is not a simple formulaic romance. The story revolves around the complex social politics of the theatrical world and the legal perils and consequences for women trying to make lives for themselves without the safety of marriage. Within that world, two women find each other and carefully negotiate the possibility of future happiness. This is a book that deserves to be better known. Sturtevant’s more recent books are set in the same era, but aimed at more of a YA readership and without the lesbian interest.
* * *
Pembroke Park - by Michelle Martin (Naiad Press, 1986)
If you ask readers for titles of the best lesbian Regency romances they know, Pembroke Park is usually one of the first mentioned. The widowed Lady Joanna Sinclair is irresistably drawn to the mannish Lady Diana March, leader of an eccentric social set that includes Joanna’s brother-in-law and his “very good friend” Geoffrey. But pursuing a friendship with Diana sets Joanna at odds with her overbearing brother Hugo, and Joanna’s insistance on not re-marrying at her brother’s command places the custody of her young daughter in jeopardy.
This is a light and somewhat formulaic romance, though not without its serious moments. But the prose is smooth and polished and there are enough sub-plots and side characters to carry the story along. One definite plus is the way Joanna and Diana’s developing relationship is situated as part of a community of same-sex lovers, both male and female.
* * *
Behind the Mask - by Kim Larabee (Alyson Publications, 1989)
What is a single young woman in the Regency era to do if she must support a household? As an alternative to setting one’s cap for a handsome man with a title or a fortune, one could always turn into a highway robber, as Maddie Elverton does. But her double life threatens to unravel when she encounters Allie Sifton, at first as a victim of her robbery, and then as a partner in her secret.
This story is largely a light-hearted romp, leavened by a small amount of peril from the dogged pursuit by Lt. Bridgewater, who has set his sights on taking the highwayman in hand. Larabee is mistress of the language and conventions of the Regency romance, and turns the usual tropes of the genre on their head to bring Allie and Maddie together for their happily ever after.
* * *
Moll Cutpurse: Her True History - by Ellen Galford (Firebrand Books, 1985)
The historic Moll Cutpurse was a gender-bending rogue of some notoriety and celebrity in early 17th century England. A semi-fictionalized biographical play written about her at the time gives her a reputation for loving the ladies. Galford’s novel takes this reputation and runs with it, giving Moll a series of swashbuckling adventures and near-escapes from the law, in the company of her partner and lover, Bridget the apothecary.
Galford is a supreme wordsmith and makes both the setting and the characters come alive. Her mastery of the history and culture of the London underworld around the time of Elizabeth I’s death gives this story a weight and depth beyond a simple tale of adventure or romance (and although there is a romantic element, the story is not a romance in structure).
I wrote these up because Sheena of The Lesbian Review asked for a birthday gift that people would post three reviews on Amazon of lesbian books they have loved. Since I tend to stay caught up on reviews of my recent reading (though my usual Friday review slot will fall in this category as well), I thought I'd pull out some "classics" that I haven't reviewed before -- or at least, not since the rise of the internet!
Alas, none of these books are currently in print, although used copies can be found. It would be wonderful if someone would see about getting these into e-book format. They set such a great example of what lesbian genre fiction can be at its best.
* * *
A Mistress Moderately Fair - by Katherine Sturtevant (Alyson Publications, 1988)
In contrast to the previous century, women in mid-17th century Restoration England could not only act upon the stage, but even become playwrights. Margaret Featherstone (possibly inspired by the real playwright Aphra Behn) competes for the talents of London’s theatrical set, and for the attention of patrons even as high as King Charles II. Actress Amy Dudley could be the talent that brings fame to her work. But both women share a secret and forbidden desire, and Amy hides another secret that could send her to the gallows. Braided in among this are other stories, such as that of the African slave Kicharuzi.
Sturtevant has a strong command of the feel for historic English and brings the era to life both in her descriptions and dialogue. This is not a simple formulaic romance. The story revolves around the complex social politics of the theatrical world and the legal perils and consequences for women trying to make lives for themselves without the safety of marriage. Within that world, two women find each other and carefully negotiate the possibility of future happiness. This is a book that deserves to be better known. Sturtevant’s more recent books are set in the same era, but aimed at more of a YA readership and without the lesbian interest.
* * *
Pembroke Park - by Michelle Martin (Naiad Press, 1986)
If you ask readers for titles of the best lesbian Regency romances they know, Pembroke Park is usually one of the first mentioned. The widowed Lady Joanna Sinclair is irresistably drawn to the mannish Lady Diana March, leader of an eccentric social set that includes Joanna’s brother-in-law and his “very good friend” Geoffrey. But pursuing a friendship with Diana sets Joanna at odds with her overbearing brother Hugo, and Joanna’s insistance on not re-marrying at her brother’s command places the custody of her young daughter in jeopardy.
This is a light and somewhat formulaic romance, though not without its serious moments. But the prose is smooth and polished and there are enough sub-plots and side characters to carry the story along. One definite plus is the way Joanna and Diana’s developing relationship is situated as part of a community of same-sex lovers, both male and female.
* * *
Behind the Mask - by Kim Larabee (Alyson Publications, 1989)
What is a single young woman in the Regency era to do if she must support a household? As an alternative to setting one’s cap for a handsome man with a title or a fortune, one could always turn into a highway robber, as Maddie Elverton does. But her double life threatens to unravel when she encounters Allie Sifton, at first as a victim of her robbery, and then as a partner in her secret.
This story is largely a light-hearted romp, leavened by a small amount of peril from the dogged pursuit by Lt. Bridgewater, who has set his sights on taking the highwayman in hand. Larabee is mistress of the language and conventions of the Regency romance, and turns the usual tropes of the genre on their head to bring Allie and Maddie together for their happily ever after.
* * *
Moll Cutpurse: Her True History - by Ellen Galford (Firebrand Books, 1985)
The historic Moll Cutpurse was a gender-bending rogue of some notoriety and celebrity in early 17th century England. A semi-fictionalized biographical play written about her at the time gives her a reputation for loving the ladies. Galford’s novel takes this reputation and runs with it, giving Moll a series of swashbuckling adventures and near-escapes from the law, in the company of her partner and lover, Bridget the apothecary.
Galford is a supreme wordsmith and makes both the setting and the characters come alive. Her mastery of the history and culture of the London underworld around the time of Elizabeth I’s death gives this story a weight and depth beyond a simple tale of adventure or romance (and although there is a romantic element, the story is not a romance in structure).
